Thursday, September 14, 2017

Portraits and landscapes from T. J. Nevin's cohort

This selection of late 1860s to mid 1870s Australian portraits and landscapes was acquired from eBay sellers on behalf of the KLW NFC Group for © KLW NFC Imprint Private Collection 2017. They were scanned on a CanoScan LiDE 220 on 13th September 2017. Works displayed here are attributed to the following photographers:

ALFRED BOCK (1835-1920) Tasmania
CHARLES NETTLETON (1825-1902) Victoria
CHARLES A. WOOLLEY (1834-1922) Tasmania
SAMUEL CLIFFORD (1827-1890) Tasmania

Portraits: full length cartes-de-visite
Studio portraits of women and children from this era usually survive in family albums until they can no longer be remembered or identified by subsequent generations of the family. The people in each of these portraits have yet to be named and the provenance prior to purchase on eBay of each item is unknown.

ALFRED BOCK (1835-1920) Tasmania



Four year old child in frock coat and frilly bloomers 1858-1863
Photographer's stamp verso: Alfred Bock, Hobart Town

Above: A full-length studio carte-de-visite portrait of a fair-haired four year old child, possibly a girl, wearing a frock coat and frilly bloomers, her gaze direct to camera. In her right hand she holds a card, her left hand rests on the arm of a low chair where a white hat is placed. The verso carries Alfred Bock's studio stamp with the kangaroo emblem sitting on top of a small leather belt encompassing the initials "A.B". The wording of the stamp is " Alfred Bock, City Photographic Establishment, 140 Elizabeth St. Hobart Town". The stamp design dates from 1858 when Bock first moved to the studio at 140 Elizabeth St.  and predates his later stamp of 1865-1867 (see second cdv below) which Thomas J. Nevin modified on acquiring the business in 1867.
In poor condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above: Four year old child in frock coat and frilly bloomers 1858-1863
Photographer's stamp verso: Alfred Bock, Hobart Town
Full-length studio carte-de-visite portrait of a fair-haired four year old child, possibly a girl, wearing a frock coat and frilly bloomers, her gaze direct to camera. In her right hand she holds a card, her left hand rests on the arm of a low chair where a white hat is placed. The verso carries Alfred Bock's studio stamp with the kangaroo emblem sitting on top of a small leather belt encompassing the initials "A.B". The wording of the stamp is " Alfred Bock, City Photographic Establishment, 140 Elizabeth St. Hobart Town". The stamp design dates from 1858 when Bock first moved to the studio at 140 Elizabeth St.  and predates his later stamp of 1865-1867 (see second cdv below) which Thomas J. Nevin modified on acquiring the business in 1867.
In poor condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Woman in taffeta dress, left hand on elaborate plinth with metal fruit stand 
Photographer's stamp verso: Alfred Bock, Hobart Town ca. 1865

Above: A full-length studio carte-de-visite portrait of a woman in her thirties wearing a taffeta dress with a white collar and buttoned bodice, her gaze directed to the viewer's right.  She is standing with her left hand resting on an elaborately decorated plinth on which sits a metal fruit stand. Behind her to the viewer's left is the heavy floral-patterned drape featured in many of Bock's later studio portraits taken in Hobart between 1865 and his departure from Tasmania in 1867.  The verso carries the stamp in blue ink with the kangaroo emblem sitting on top of a leather belt. Above the kangaroo inside a ribbon strip is the motto in Latin "Ad Altiora" - which translates as something like "to the heights" - and inside the circular belt design is his business name - "The City Photographic Establishment" - which in turn encompasses the studio address - 140 Elizabeth St. Hobart Town. Below this in italics is the promise that "Further Copies can be obtained at any time". Thomas J. Nevin retained this stamp design on acquiring Bock's stock, studio, glasshouse, and business name in 1867, adding his name and "Late A. Bock" inside the belt.
Torn with piece missing on right side and top left. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above of Woman in taffeta dress, left hand on elaborate plinth with metal fruit stand 
Photographer's stamp verso: Alfred Bock, Hobart Town ca. 1865
Full-length studio carte-de-visite portrait of a woman in her thirties wearing a taffeta dress with a white collar and buttoned bodice, her gaze directed to the viewer's right.  She is standing with her left hand resting on an elaborately decorated plinth on which sits a metal fruit stand. Behind her to the viewer's left is the heavy floral-patterned drape featured in many of Bock's later studio portraits taken in Hobart between 1865 and his departure from Tasmania in 1867.  The verso carries the stamp in blue ink with the kangaroo emblem sitting on top of a leather belt. Above the kangaroo inside a ribbon strip is the motto in Latin "Ad Altiora" - which translates as something like "to the heights" - and inside the circular belt design is his business name - "The City Photographic Establishment" - which in turn encompasses the studio address - 140 Elizabeth St. Hobart Town. Below this in italics is the promise that "Further Copies can be obtained at any time". Thomas J. Nevin retained this stamp design on acquiring Bock's stock, studio, glasshouse, and business name in 1867, adding his name and "Late A. Bock" inside the belt.
Torn with piece missing on right side and top left. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017

Read more about Alfred Bock and Thomas J. Nevin on this site:-

CHARLES NETTLETON (1825-1902) Victoria



Seated woman with male child in trouser suit leaning against her knee
Photographer's stamp verso: C. Nettleton, North Melbourne ca. 1869

Above: a full-length studio portrait of a woman seated in a voluminous dress with white collar and cuffs, a long thin chain reaching from around her neck to her lap. Her hair is parted centre and coiled at the back. She is holding a five year old boy who is leaning against her knee, her gaze direct to camera. The boy wears a trouser suit and holds a toy - a stick on wheels or possible cotton reels - in his right hand, his gaze directed across to the photographer's right. The studio decor features a floor to ceiling window with a backdrop painted with a patio scene. The verso is printed in lavender ink and very elaborately decorated with birds, branches and flowers. Included at the top is a stamp encircled in a wreath with the wording "1862 Londini Honoris Causa"  and below that at centre is the Royal Arms insignia and the wording "C. Nettleton Photographer by Special Appointment to H. R. H. The Duke of Edinburgh" flanked on either side with Nettleton's many medals won at London (1862) and Melbourne (1867) exhibitions. When this portrait was taken, his business address was No. 1, Madeline St. North Melbourne where he remained from 1863 until the late 1880s, although he had three other studios in Melbourne, including an office in the Victoria Arcade, Bourke St (Kerr 1992: 568). This portrait probably dates from the visit by the Duke of Edinburgh in 1868 up to the early 1870s. Charles Nettleton, like Thomas J. Nevin in Tasmania, provided the Victorian police and prison administration with prisoner mugshots for more than two decades.
Fair condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above: Seated woman with male child in trouser suit leaning against her knee
Photographer's stamp verso: C. Nettleton, North Melbourne ca. 1869
 A full-length studio portrait of a woman seated in a voluminous dress with white collar and cuffs, a long thin chain reaching from around her neck to her lap. Her hair is parted centre and coiled at the back. She is holding a five year old boy who is leaning against her knee, her gaze direct to camera. The boy wears a trouser suit and holds a toy - a stick on wheels or possible cotton reels - in his right hand, his gaze directed across to the photographer's right. The studio decor features a floor to ceiling window with a backdrop painted with a patio scene. The verso is printed in lavender ink and very elaborately decorated with birds, branches and flowers. Included at the top is a stamp encircled in a wreath with the wording "1862 Londini Honoris Causa"  and below that at centre is the Royal Arms insignia and the wording "C. Nettleton Photographer by Special Appointment to H. R. H. The Duke of Edinburgh" flanked on either side with Nettleton's many medals won at London (1862) and Melbourne (1867) exhibitions. When this portrait was taken, his business address was No. 1, Madeline St. North Melbourne where he remained from 1863 until the late 1880s, although he had three other studios in Melbourne, including an office in the Victoria Arcade, Bourke St (Kerr 1992: 568). This portrait probably dates from the visit by the Duke of Edinburgh in 1868 up to the early 1870s. Charles Nettleton, like Thomas J. Nevin in Tasmania, provided the Victorian police and prison administration with prisoner mugshots for more than two decades.
Fair condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017

Read more about Charles Nettleton and Thomas J. Nevin on this site:-



Above: Entry on Charles Nettleton pp 566-567 and entry on Thomas J. Nevin, pp 568-9
The Dictionary of Australian artists : painters, sketchers, photographers and engravers to 1870, edited by Joan Kerr.
Publisher: Melbourne : Oxford University Press, 1992.
Description: xxii, 889 p. : ill., facsims., ports. ; 27 cm.

CHARLES A. WOOLLEY (1834-1922) Tasmania



Young girl, nine years old in dark dress with lacy bloomers and spats
Photographer's stamp verso: Chas A. Woolley, Hobart ca. late 1860s

Above: a full-length carte-de-visite studio portrait of a young girl, possibly nine years old wearing a dark dress with a white collar and braiding along the sleeve, showing the lace of her bloomers at the hem against her bare legs. Spats cover her shoes. Her hair hangs loose in ringlets, and her gaze is slightly dropped and held steady to the viewer's left. The studio decor includes an occasional table on wheels to the viewer's right of frame on which sits a book, and a dining chair on the left on which the child rests her right arm. In her left hand she holds a thickly folded card. Charles Woolley's signature technique was to produce prints in rich dark tones which made his portraits especially appealing. The verso bears Woolley's "Advance Tasmania" studio stamp with emu and kangaroo animal iconography flanking the Tasmanian colonial insignia. His studio address for more than two decades was 42 Macquarie St. Hobart where he also ran a furniture business with his father. He must have supplied furniture, carpets and wall-hangings to all the Hobart photographic studios during the 1860s, and even sold items from his own studio when he ceased professional practice in the 1870s, because the same items appear in different photographers' studio portraits.
Good condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above: Young girl, nine years old in dark dress with lacy bloomers and spats
Photographer's stamp verso: Chas A. Woolley, Hobart ca. late 1860s. 
Full-length carte-de-visite studio portrait of a young girl, possibly nine years old wearing a dark dress with a white collar and braiding along the sleeve, showing the lace of her bloomers at the hem against her bare legs. Spats cover her shoes. Her hair hangs loose in ringlets, and her gaze is slightly dropped and held steady to the viewer's left. The studio decor includes an occasional table on wheels to the viewer's right of frame on which sits a book, and a dining chair on the left on which the child rests her right arm. In her left hand she holds a thickly folded card. Charles A. Woolley's signature technique was to produce prints in rich dark sepia  tones which made his portraits especially appealing. The verso bears Woolley's "Advance Tasmania" studio stamp with emu and kangaroo animal iconography flanking the Tasmanian colonial insignia. His studio address for more than two decades was 42 Macquarie St. Hobart where he also ran a furniture business with his father. He must have supplied furniture, carpets and wall-hangings to all the Hobart photographic studios during the 1860s, and even sold items from his own studio when he ceased professional practice in the 1870s, because the same items appear in different photographers' studio portraits. 
Good condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017


Read more about Charles A. Woolley and Thomas J. Nevin on this site:-

Stereographs: views along the River Derwent
With the departure of Thomas Nevin's senior partner Alfred Bock to Sale, Victoria in 1867, and then the departure of Robert Smith to Goulburn, NSW in 1868 after his brief partnership with Nevin while operating as the firm Nevin & Smith at the former premises of Alfred  Bock, the City Photographic Establishment, 140 Elizabeth Street, Hobart, Thomas Nevin's closest relationship as both a business partner and personal friend was with the prolific stereographer Samuel Clifford. Many of Clifford's and Nevin's stereographs - and they produced thousands between them from the late 1860s to the early 1870s - are identical.

SAMUEL CLIFFORD (1827-1890) Tasmania

"The New Wharf" ca. 1867



Views in Tasmania. The New Wharf, Hobart ca. 1868
Photographer's label and stamp verso: S. Clifford, Photographer, Hobart Town

Above: two images which differ slightly - i.e. the image on the right includes a little more of the landscape on its left border than the image on the left. Captured with a stereoscopic camera perhaps, or with a single camera moved slightly for the second capture, and mounted for viewing through a stereographic viewer in a double-arched frame on yellow card. The subject shows mercantile success: five merchant traders - probably three-masted barques - lined up port side along New Wharf (now Salamanca Place) Hobart. Crates and and timber (deal) are visible on the wharf. Two horse and cart carriers wait in the street pointing towards the town. The verso carries Samuel Clifford's printed label "Views in Tasmania, S. Clifford, Photographer, Hobart Town" and the hand-written title of this item - "The New Wharf". The stamp on the verso carries a circle  enclosing a cartoon of Romans receiving  an award, framed by a Latin motto [?] beneath which is the wording "Medal Awarded to S. Clifford Intercolonial Exhib. Victoria 1866" and inside the ribbon above the stamp is printed "And Honourable Mention" . Below all this are the awards: New Zealand, 1865, Melbourne 1866, For Architectural & Landscape Photograph, Samuel Clifford, Liverpool Street, Hobart Town Tasmania"
The stereograph therefore was taken or produced sometime after the last-mentioned award won at Melbourne in 1866.
Faded. Fair condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above: Views in Tasmania. The New Wharf, Hobart ca. 1868
Photographer's label and stamp verso: S. Clifford, Photographer, Hobart Town
Two images which differ slightly - i.e. the image on the right includes a little more of the landscape on its left border than the image on the left. Captured with a stereoscopic camera perhaps, or with a single camera moved slightly for the second capture, and mounted for viewing through a stereographic viewer in a double-arched frame on yellow card. The subject shows mercantile success: five merchant traders - probably three-masted barques - lined up port side along New Wharf (now Salamanca Place) Hobart. Crates and and timber (deal) are visible on the wharf. Two horse and cart carriers wait in the street pointing towards the town. The verso carries Samuel Clifford's printed label "Views in Tasmania, S. Clifford, Photographer, Hobart Town" and the hand-written title of this item - "The New Wharf". The stamp on the verso carries a circle  enclosing a cartoon of Romans receiving an award, framed by a Latin motto [?] beneath which is the wording "Medal Awarded to S. Clifford Intercolonial Exhib. Victoria 1866" and inside the ribbon above the stamp is printed "And Honourable Mention" . Below all this are the awards:New Zealand, 1865, Melbourne 1866, For Architectural & Landscape Photograph, Samuel Clifford, Liverpool Street, Hobart Town Tasmania"
The stereograph therefore was taken or produced sometime after the last-mentioned award won at Melbourne in 1866.
Faded. Fair condition. Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017

"The Government Slaughter Yard &" ca. 1870



Views in Tasmania. Hobart Town. From Queen's Domain
The Government Slaughter Yard & ca. 1870s
S. Clifford, Photographer, Hobart Town 

Above: Unlike the stereograph of New Wharf above, this is not a true stereograph because the two images are exactly the same. One single capture has been printed twice and overlaid one on the other at the centre where the wide opaque vertical line shows the overlay. The consumer of this item would have had a less than authentic stereographic viewing experience. Given the clarity of the print and its well-defined dark tones, it would have been printed from the single negative a decade or more after the original capture, and for the tourist trade, whereas the original photograph was taken for the Lands and Survey Department and the Hobart City Council who owned the slaughter yards, specifically for documentation of government assets. This view which Samuel Clifford's studio titled "The Government Slaughter Yard &" appears in many collections: it was not only mounted on different coloured cards with square or arched frames, it was printed in deep black, white and grey tones, as well as with dark sepia and deep lilac fixer. Some of these extant examples were either labelled by Clifford or left blank. Some are attributed to Thomas Nevin, for example, the heavily coloured one held at the TMAG. Some were given new titles such as "Cattle Jetty Abbatoirs" or "Sandy Bay from the Domain" though not quite apposite, and yet others were included in what are known as the Clifford Albums at the State Library of Tasmania despite versions by other photographers and variations in the scene.
Good condition. Possible reprint from Nevin's original negative.
Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017



Verso of above: Views in Tasmania. Hobart Town. From Queen's Domain
The Government Slaughter Yard & ca. 1870s
S. Clifford, Photographer, Hobart Town 
Unlike the stereograph of New Wharf above, this is not a true stereograph because the two images are exactly the same. One single capture has been printed twice and overlaid one on the other at the centre where the wide opaque vertical line shows the overlay. The consumer of this item would have had a less than authentic stereographic viewing experience. Given the clarity of the print and its well-defined dark tones, it would have been printed from the single negative a decade or more after the original capture, and for the tourist trade, whereas the original photograph was taken for the Lands and Survey Department and the Hobart City Council who owned the slaughter yards, specifically for documentation of government assets. This view which Samuel Clifford's studio titled "The Government Slaughter Yard &" appears in many collections: it was not only mounted on different coloured cards with square or arched frames, it was printed in deep black, white and grey tones, as well as with dark sepia and deep lilac fixer. Some of these extant examples were either labelled by Clifford or left blank. Some are attributed to Thomas Nevin, for example, the heavily coloured one held at the TMAG. Some were given new titles such as "Cattle Jetty Abbatoirs" or "Sandy Bay from the Domain" though not quite apposite, and yet others were included in what are known as the Clifford Albums at the State Library of Tasmania despite versions by other photographers and variations in the scene.
Good condition. Possible reprint from Nevin's original negative.
Provenance - eBay
Copyright © KLW NFC Imprint Private Collection 2017

Thomas Nevin's print of the cattle yards, and the others



Stereograph on arched buff mount of the Abbatoir, Queen's Domain, Hobart
Photographer; Thomas J. Nevin ca. 1870 for the HCC, Lands and Survey Dept
Unstamped, and hand-coloured possibly by family members of a commercial client.
Tasmanian Museum and Art Gallery Collection
TMAG Ref: Q1994.56.25



Verso of above: Stereograph on arched buff mount of the Abbatoir, Queen's Domain, Hobart
Photographer; Thomas J. Nevin ca. 1870 for the HCC, Lands and Survey Dept
Unstamped, and hand-coloured possibly by family members of a commercial client.
Tasmanian Museum and Art Gallery Collection
TMAG Ref: Q1994.56.25




This stereograph of the same location was printed in black and grey tones and mounted in a pair of square frames, again with the opaque vertical line at centre showing the overlay of the single print mounted twice to appear like a stereograph. Titled simply "The Domain", it bears Samuel Clifford's label (blue) on verso. It dates from before 1878. Sourced from eBay March 2016

Cattle slaughtered at the Domain abbatoir found their way to the shipping butchery in Morrison Street, behind the Hobart Wharves, where government contractor J. Callaghan proudly displayed the Royal Arms insignia as his business credentials above his shop entrance.



Photograph - J Callaghan's Butcher's shop, Morrison Street, Hobart
Description: 1 photographic print
ADRI: NS1013-1-1075
Source: Archives Office of Tasmania



[Above]: Just as the butcher J. Callaghan displayed his government contract credentials above his shop entrance, Thomas J. Nevin would have displayed a similar sign at his studio in Elizabeth Street. This is one of many extant examples of T. J. Nevin's government contractor stamp with the Royal Arms insignia which he was required to display on the versos of at least one photograph per batch supplied on commission to the Lands and Survey Department and the Municipal Police Office, Hobart City Council, between 1865 and 1876.

The twin cattle jetties were first built on the Domain shortly after Thomas Nevin's uncle-in-law, Captain Edward Goldsmith, began the erection of a patent slip in 1854. The McGregor brothers acquired the government lease in 1856, and the jetties were constructed next to the slipyards soon after for unloading cattle into the abattoirs and stock yard on site.
"A vessel with cattle on board lies alongside both (jetty) Ts, and discharges cattle into the water between the jetties, and they swim ashore and walk along a railed enclosure straight into the slaughter yards. This arrangement is made so that if a beast suffering from any disease it is in practically quarantine..."
The Marine Board assumed responsibility for the jetties in 1886,
"resulting in the jetties being restored with stone approaches and were about 120 feet with T ends, measuring 40 feet by 12 feet".
Source:  Hudspeth A.and Scripps L (2000). Capital Ports, A History of the Marine Board of Hobart 1858-1997. Hobart Ports Corporation.



State Library of Tasmania Collections
Cattle Jetty Abbatoirs [i.e. Abattoirs] c1872[?]
Publication Information: [Hobart : s.n., c1872][?].
Physical description: 1 photographic print mounted on card : b&w ; 104 x 181 mm. ; on mount 115 x 190 mm.

The black and white print (above) from another negative which was taken from the same viewpoint of the same location, is identified at TAHO as the abbatoirs at Cattle Jetty, Queens Domain, but the date 1872 is incorrect. Because of the telegraph pole (?) now evident in the centre of the image, it was probably taken ca. 1880.  Thomas Nevin would have taken the original photograph a decade earlier under commission as government contractor for the Lands and Survey Dept. of the HCC, and supplied the Council with prints in various formats including a stereograph and unmounted cdv, with at least one photograph printed verso with the Royal Arms insignia of his official government contract stamp. The hand-coloured stereograph to survive bears no stamp verso, which suggests it was randomly saved from the HCC archives, or even studio rejects, and subsequently coloured by family members of a commercial client. The same image mounted with squared corners was sold as a commercial item by Samuel Clifford's when reprinted from Nevin's original sometime before Clifford's retirement in 1878.

A print from the same negative is held at the State Library of Tasmania which ostensibly bears verso Samuel Clifford's label, and the generic title "Sandy Bay ... from the Domain". Without an online digital image of the verso, key information about the label and accession date cannot be verified. Samuel Clifford and Thomas J. Nevin collaborated on the production and reproduction of stereographs and studio portraits from the mid 1860s until Clifford retired in 1878, but whether this negative and stereograph format was produced as early as 1865, is open to question, as is the poor reproduction by the State Library of Tasmania, which leads the viewer to assume that lilac fixer was the dominant or preferred print tone of the photographer's studio.



State Library of Tasmania Collections
Sandy Bay ... from the Domain
Publication Information: ca. 1865.
Physical description: 1 stereoscopic pair of photographs : sepia toned ; 8 x 7 cm. each, on mount 9 x 18 cm.
Series: Views in Tasmania
Format: photograph image (online)
Notes: On verso: title printed on centre of label ; printed above title: Views in Tasmania ; printed below title: S. Clifford, photographer, Hobart Town.
Date and accession number in pencil upper right corner of verso.
Exact size 76 x 62 mm. each, on mount 83 x 175 mm.

Read more about Samuel Clifford and Thomas J. Nevin on this site:-